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American V: A Hundred Highways

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Editorial Reviews

Barnes & Noble - David McGee
Drawn from Johnny Cash's final sessions with producer Rick Rubin, American V is another moving chapter in a great American artist's remarkable late-life journey. In the end, Cash's presence, even when he's clearly in a weakened state -- he died four months later -- remains commanding. The mood is reflective, the artist imparting his sense of an endgame playing out and, poignantly, faced alone (these recordings were made in the months after the death of Cash's wife, June Carter Cash). One of the most beautiful moments on any Cash record comes via a lilting version of Gordon Lightfoot's "If You Could Read My Mind," a wobbly, ragged vocal caressing the haunting lyrics just ...
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Editorial Reviews

Barnes & Noble - David McGee
Drawn from Johnny Cash's final sessions with producer Rick Rubin, American V is another moving chapter in a great American artist's remarkable late-life journey. In the end, Cash's presence, even when he's clearly in a weakened state -- he died four months later -- remains commanding. The mood is reflective, the artist imparting his sense of an endgame playing out and, poignantly, faced alone (these recordings were made in the months after the death of Cash's wife, June Carter Cash). One of the most beautiful moments on any Cash record comes via a lilting version of Gordon Lightfoot's "If You Could Read My Mind," a wobbly, ragged vocal caressing the haunting lyrics just so, at times sounding so weak you wonder if Cash will get through the number. An elegantly fingerpicked acoustic guitar line is bolstered by Benmont Tench's organ, humming reverently in the style of a hymn of invitation. Many of the songs reference death explicitly (the bluesy, bopping "Like the 309," the final recorded Cash original) or obliquely (Larry Gatlin's dirge-like "Help Me"), whereas others, such as Springsteen's low-key folk blues "Further On (Up the Road)," suggest a reunion in the afterlife. Grim as this all sounds, Cash lets the light in with two touching love ballads, Rod McKuen's reflective affirmation "Love's Been Good to Me" and Hugh Moffatt's unfettered billet-doux "Rose of My Heart." The sound remains spare, with Benmont Tench's piano, organ, and harpsichord flourishes offering gentle support to a sextet of guitarists (including Heartbreaker Mike Campbell, Randy Scruggs, and Smokey Hormel) who pick evocative, minimalist phrases in such a way that Cash often sounds like he's accompanied only by a music box. Other musicians are credited with unspecified "invaluable contributions," but surely Marty Stuart's adding the mandolin lines here and there, "Uncle" Josh Grave is behind the dobro cries, and Cash's old Sun compadre, "Uncle" Jack Clement, wasn't just along for the ride. Well-traveled highways, these, and the going was good.
All Music Guide - William Ruhlmann
American V: A Hundred Highways is the long-awaited album of Johnny Cash's final recordings, the basic tracks for which i.e., Cash's vocals were recorded in 2002-2003, with overdubs added by producer Rick Rubin after his death on September 12, 2003, at age 71. Between 1994 and 2002, Cash and Rubin had succeeded in fashioning a third act for the veteran country singer's career, following his acclaimed 1950s work for Sun Records and his popular recordings for Columbia in the 1960s and '70s. In the '80s, Cash's star had faded, but Rubin reinvented him as a hip country-folk-rock elder at 62 with American Recordings 1994, his first new studio album to reach the pop charts in 18 years. Unchained 1996 and American III: Solitary Man 2000 continued the comeback, at least as far as the critics were concerned, though none of the albums was actually a big seller. But American IV: The Man Comes Around 2002, propelled by Cash's cover of Nine Inch Nails' "Hurt" and a powerful video, stayed in the pop charts longer than any Cash album since 1969's Johnny Cash at San Quentin. By 2002, however, Cash was in failing health, homebound and in a wheelchair, and he suffered a personal blow when his wife, June Carter Cash, died on May 15, 2003. The American series, which posited Cash as an aged sage and the repository for a bottomless American songbook, had already shown a predilection for gloom in the name of gravity; it's no surprise that the fifth and final volume would be even more concerned with, as three earlier Cash compilations had put it, God, Love, and Murder. The ailing septuagenarian certainly sounds like he's near the end of his life, but that said, he doesn't sound bad. Cash was never a great singer in a technical sense: he hadn't much range, his pitch often wobbled, and his lack of breath control sometimes found him grasping for sound at the end of lines. But he was a great singer in the sense of projecting a persona through his voice; his emotional range, which went from a Sinatra-like swagger to an almost embarrassingly intimate vulnerability, was as wide as the spread of notes he could hit confidently was narrow. Such a singer doesn't really lose that much with age; in fact, he gains even more interpretive depth. Listening to this album, one can't get around the knowledge that it is a posthumous collection made in Cash's last days, but even without that context, it would have much the same impact. The album begins with two religious songs, Larry Gatlin's "Help Me," a plea to God, and the traditional "God's Gonna Cut You Down," which, in a sense, answers that plea. The finality of death thus established, Cash launches into what is billed as the last song he ever wrote, "Like the 309," which is about a train taking his casket away. The same image is used later in the cover of Hank Williams' "On the Evening Train," in which a man and his child put the coffin of a wife and mother on another train. Cash sings these songs in a restrained manner, and even has a sense of humor in "Like the 309," in which he complains about his asthma: "It should be awhile/Before I see Doctor Death/So it would sure be nice/If I could get my breath." In between the two train songs come songs that may not have been about death when their authors wrote them, but sure sound like they are here. As written, Gordon Lightfoot's "If You Could Read My Mind" seems to concern a romantic breakup expressed in literary and cinematic terms, but in Cash's voice, lines like "You know that ghost is me" and "But stories always end" become inescapably elegiac. Bruce Springsteen's "Further On Up the Road" is even easier to interpret as a call to the hereafter, with lines like "Got on my dead man's suit and my smilin' skull ring/My lucky graveyard boots and song to sing." These two songs make a pair with the album's two closing songs. Ian Tyson's "Four Strong Winds" is, like the Lightfoot selection, a folk standard by a Canadian songwriter, also nominally about romantic dissolution, although here the singer who is "bound for moving on" doesn't seem likely to come back. And the closing song, "I'm Free from the Chain Gang Now," may have lyrics implying that the unjustly imprisoned narrator has been set free, but in Cash's voice it sounds like he's been executed instead and is singing from beyond the grave. The four songs in between "On the Evening Train" and "Four Strong Winds," dealing with faith and love the former expressed in a previously recorded 1984 Cash copyright, "I Came to Believe", are weaker than what surrounds them, but they serve to complete the picture. And it's worth noting that Cash at death's door still outsings croaking Rod McKuen on the songwriter's ever-cloying "Love's Been Good to Me." Cash may never have heard Rubin's overdubs, but they are restrained and tasteful, never doing anything more than to support the singer and the song. If the entire series of American recordings makes for a fitting finale to a great career, American V: A Hundred Highways is a more than respectable coda.
New York Times - Jon Pareles
The music isn't afraid to call for tears, but it does so through understatement. Cash's voice is always exposed, whether it's full-toned or faltering, and most of the tracks are folky and reverent, placing measured finger-picking above churchy chords.
Rolling Stone - Douglas Wolk
These stark, mostly acoustic arrangements don't try to conceal the singer's ruined instrument but find authority in its quavers and crags.
Entertainment Weekly - Gilbert Cruz
[Grade: A-] The man's spirituality -- so overlooked in last year's Walk the Line -- is everywhere.... If this is ''Johnny's final statement''...then it is a fitting one, completely representative of the faithful old man he had become.
Washington Post
An elegiac song cycle on which Cash comes across like a man who is very much at peace with the inevitability that's hovering over him..... The result is arresting. J. Freedom du Lac
Boston Globe - James Reed
Taken together, [the songs] are as poignant a farewell and tribute as you could imagine to a man (in black, of course) with such a storied past and imposing legacy.... "American V" is a gem: a respectful swan song that holds its creator in loving remembrance.
San Francisco Chronicle - Sylvie Simmons
The best is his neotraditional take on Bruce Springsteen's "Further On (Up the Road"). Beautifully understated -- just like the production and band on this fine album, and well worth the three-year wait.
The Independent - Andy Gill
It is easily the best of the five American albums, and one of the most compelling releases of Cash's career, a work of moving simplicity and emotional directness that underlines how rare those qualities have become in our cynical times.
Chicago Tribune - Greg Kot
The material is mostly first-rate, from the gospel-tinged traditional "God's Gonna Cut You Down" to Bruce Springsteen's "Further On (Up the Road)," and Cash's commitment to it is beyond question.
Denver Post - Ricardo Baca
Some of the country legend's finest material. Cash's favorite meditations are all here, including jail, God and death, oftentimes in that order.
Los Angeles Daily News
Cash's voice was not as a strong as it once was, but it still carried an authority that set him apart from other singers.... Rubin's production is stellar throughout, spare but with the right touch.
Hartford Courant - Eric R. Danton
Cash's weakened baritone still bristles with determination, even if it doesn't rumble quite the way it once did. Stark, stomping percussion and ominous acoustic guitar help "God's Gonna Cut You Down" thunder with the force of a revivalist preacher.... A worthy addition to an extraordinary catalog.

The music isn't afraid to call for tears, but it does so through understatement. Cash's voice is always exposed, whether it's full-toned or faltering, and most of the tracks are folky and reverent, placing measured finger-picking above churchy chords.
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Product Details

  • Release Date: 7/4/2006
  • Label: Lost Highway
  • UPC: 602498626962
  • Catalog Number: 000276902
  • Sales rank: 1,223

Album Credits

Performance Credits
Johnny Cash Primary Artist
Marty Stuart Musician
Mac Wiseman Musician
Pat McLaughlin Guitar
Benmont Tench Organ, Piano, Harpsichord
Dennis Crouch Musician
Larry Perkins Musician
Randy Scruggs Guitar
Pete Wade Musician
Smokey Hormel Guitar
Jonny Polonsky Guitar
Laura Cash Musician
Technical Credits
Johnny Cash Composer
Don Gibson Composer
Ian Tyson Composer
Gordon Lightfoot Composer
Bruce Springsteen Composer
Rod McKuen Composer
Larry Gatlin Composer
Hugh Moffatt Composer
Rick Rubin Producer, Liner Notes
Christine Cano Art Direction
John Carter Cash Executive Producer
Traditional Composer
Vlado Meller Mastering
Lou Herscher Composer
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Customer Reviews

Average Rating 5
( 4 )
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(4)

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Sort by: Showing all of 4 Customer Reviews
  • Posted October 1, 2010

    more from this reviewer

    I Also Recommend:

    Swan song for John

    These songs were recorded near the end of John's life. His voice is often weak and faltering but that somehow makes these performances even more profound. All of his American label albums are worth owning. This one has the great song: "God's Gonna Cut You Down" which is worth the price all by itself. If you're new to the works of Johnny Cash I recommend you start with the great Bear Family box sets, but you will eventually work your way to this album. Mr. Cash is greatly missed, but his influence on the music of the United States (and elsewhere) is incredibly strong even today,

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  • Anonymous

    Posted October 1, 2010

    Cash will be missed

    Voice is aging but great interpretations of these songs. Very Good interpretation of "God's Gonna Cut You Down." Good overdubbing by Rick Rubin. Rubin proves himself to be a top notch producer with this record. He should be in the Rock Hall of Fame as a producer.

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  • Anonymous

    Posted October 1, 2010

    A Man Near Death

    Johnny Cash is what Bobby Dylan called the "Norhtern Lights" of American song and I think he will be respected by everybody from all genres or at least should be. Literally, this a man on the edge--near death--and he is staring it in the face with songs like "Love Has Been Good To Me" and the metaphysical "I Came to Believe." Johnny Cash is clearly in pain but contented in peace, ready to go into "that good night" of death. We should be humbled by that. R.I.P. Johnny Cash.

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  • Anonymous

    Posted October 1, 2010

    A pained but generous farewell

    It's surprising to me that "American V: A Hundred Highways" debuted at the top of the Billboard pop album charts, despite the fact that in some circles this disc had been eagerly anticipated since Johnny Cash's death in 2003. This is not an easy, superficial listen. The record is downbeat musically, with spare, elegiac arrangements--the fire-and-brimstone "God's Gonna Cut You Down" is about as rousing as this disc gets. The effects of age and illness on Cash's body and his voice are painfully obvious in some tracks. Then there's the CD's underlying theme, which emerges as a subtext even if it's not stated explicitly: reaching the end of the line, alone (Cash lost his beloved June shortly before he taped these songs), knowing that you're powerless to duck your mortality, and finding the grace to accept the inevitable and prepare to meet your Maker. It's somber stuff, and poignant--but thanks to the singer's dignity and generosity, it never feels either morbid or maudlin. In fact, it feels more like an example for the rest of us to follow when the time comes. I give this five stars not for technical perfection--Cash was never a polished vocalist, even at his peak--but for the depth of honesty and communication the Man in Black attained here, helped considerably by producer Rick Rubin (who showed a master's hand in choosing the dozen tracks here out of the 50 or so he and Cash recorded in the singer's last few months). Sad to say, there's very little music-making that's this real anymore.

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Sort by: Showing all of 4 Customer Reviews